| Taylor Made GIA Publications
SKU: GI.G-1039 GIA WindWorks. Music Education. GIA Publications #1039. Pu...(+)
SKU: GI.G-1039 GIA
WindWorks. Music
Education. GIA
Publications #1039.
Published by GIA
Publications (GI.G-1039).
Conte •
Stephenson •
Grantham • Cuong
• Kozlevnikov
• Dooley North
Texas Wind Symphony
Eugene Migliaro Corporon,
Conductor The latest
release from the GIA
WindWorks label, Taylor
Made, features
compositions by David
Conte, James M.
Stephenson, Donald
Grantham, Viet Cuong,
Boris Kozhevnikov, and
Paul Dooley. Under the
direction of Eugene
Migliaro Corporon, the
North Texas Wind Symphony
continues the tradition
of superior recordings of
some of the best works
written for wind
symphony. Winds magazine
writes “This series
has immense historic
value in documenting the
best of the
repertoire…as well
as providing much sheer
listening pleasure for
the level of artistry in
the
performances….these
discs represent the
standards to which all
must aspire.†GIA
Publications, Inc. is
proud to partner with
Eugene Corporon and the
North Texas Wind Symphony
to provide first-class
recordings that
accentuate the
comprehensiveness, depth,
and value of the wind
symphony medium and its
music. Contents 1. A
Copland Portrait (1999)
(8:44) David Conte (b.
1955)/trans. Ryan Nowlin
• Copyright ©
E.C. Schirmer Music Three
Bones Concerto (2013)Â
(15:31) James M.
Stephenson (b. 1969)
• Copyright ©
Stephenson Music Cuban
(2:52) Lazy (4:19)Â
Hip (8:20)
• Tony Baker,
Natalie Mannix, Steven
Menard – Trombone
Soloists Symphony No. 2,
“after
Hafizâ€Â (2016)Â
(18:08) Donald Grantham
(b. 1947) •
Copyright © Piquant
Press Listen to This
Music (4:38) Greeting God
(5:46) I Hold the Lion's
Paw (7:44) Moth (2013)
(8:38) • Viet
Cuong (b. 1990) •
© Viet Cuong Music
Symphony No. 3,
“Slavyanskayaâ€
(1950) (15:22) Boris
Kozhevnikov
(1906–1985)/ed.
John R. Bourgeois •
Copyright ©
Wingert-Jones Music
Allegro, decisively
(5:45) Slow Waltz (2:46)
Vivace (2:16) Moderato,
joyously (4:35) 13.
Mavericks (2016) (8:02)
Paul Dooley (b. 1983)
• Copyright ©
Paul Dooley Music Total
Time (75:00) Â The
creation of the WindWorks
label represents an
expanded relationship
between the North Texas
Wind Symphony and GIA
Publications.
GIA’s generous
support and ongoing
dedication to wind music
has made it possible for
the ensemble to continue
producing recordings of
the highest quality that
are a testament to the
perseverance and work
ethic of everyone
involved. While the first
34 releases in the
series, initiated in
1989, remain with the
Klavier label, this
broadened alliance with
GIA affords the
opportunity to
consolidate all of the
current projects under
one publishing roof. The
diverse set of offerings
consists of WindWorks
(which includes the CD
and DVD series), the
Composer’s
Collection, and the
Teaching Music through
Performance in Band
resource recordings.
Partnering in this way
creates exciting
possibilities that allow
the imaginative output to
stay focused on the
ongoing mission: to
provide first-class
recordings that
accentuate the
comprehensiveness, depth,
and value of the wind
symphony medium and its
music. Â . $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Verso il Sole Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1053848-010 A Tribute to t...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1053848-010
A Tribute to the
Sun. Composed by
Lorenzo Bocci. Applause
Series. Original Light
Music. Set (Score &
Parts). Composed 2005. 32
pages. De Haske
Publications #DHP
1053848-010. Published by
De Haske Publications
(BT.DHP-1053848-010).
English-German-French-
Dutch. Since the
beginning of mankind
people have realized that
the warmth and the light
of the sun were necessary
to develop life on earth
- by creating winds in
the air, by generating
rains through the
evaporation of sea water
and by allowing plants to
grow. The sun creates the
dynamism of the chain of
life. This is the reason
why ancient populations
adored the sun as the god
of cosmic order as
opposed to the god of
chaos or night, who
generated fear and the
necessity of defense.
This piece is a tribute
to the sun (Verso il
Sole) as an existential
symbol of life and
energy.
Sinds de
mensheid bestaat, hebben
mensen zich gerealiseerd
dat de warmte en het
licht van de zon nodig
waren voor de
ontwikkeling van het
leven op aarde. De zon
zorgt voor de dynamiek
van de cirkel van het
leven. Lorenzo Bocci
schreefdit werk als een
hulde aan de zon
(Verso il Sole) -
existentieel symbool van
leven en
energie.
Seit
Menschengedenken ist
bekannt, dass die
Wärme und das Licht
der Sonne notwendig
für alles Leben auf
der Erde ist. Sie bildet
den Antrieb des
Kreislaufs des Lebens.
Alte Völker verehrten
die Sonne als Gott der
Ordnung des Weltalls, als
Gegenspieler des Gottes
des Chaos und der Nacht.
Verso il Sole - an
die Sonne - ist ein
Tribut des italienischen
Komponisten Lorenzo Bocci
an die Sonne als das
existentielle Symbol des
Lebens und der Energie.
Lassen Sie die Sonne in
Ihr
Konzert!
Dès
les débuts de
l’humanité,
l’homme a pris
conscience que la chaleur
et la lumière du
soleil étaient
nécessaires au
développement de la
vie terrestre. Le soleil
est le principe actif du
cycle de vie. Ainsi, de
nombreuses cultures et
civilisations anciennes
vénéraient le
Soleil comme le dieu de
l’ordre cosmique,
par opposition aux forces
du chaos ou de la nuit,
qui suscitaient la
crainte et un esprit de
défense. Verso il Sole
(“Vers le Soleil
â€) est un hommage
musical au Soleil en tant
que symbole existentiel,
source de vie et
d’énergie. <
br>Dagli inizi
dell’umanit ,
l’uomo è stato
cosciente del fatto che
il calore e la luce del
sole erano necessari allo
sviluppo della vita
terrestre. Il sole è
il principio attivo del
circolo della vita.
Numerose culture e civilt
antiche venerarono il
Sole come il Dio
dell’ordine
cosmico, in
contrapposizione a Dio
del caos o della notte,
che generava paura e
necessit di difesa. Verso
il Sole è un omaggio
musicale al Sole come
simbolo esistenziale,
sorgente di vita ed
energia. $125.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Verso il Sole Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1053848-140 A Tribute to t...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1053848-140
A Tribute to the
Sun. Composed by
Lorenzo Bocci. Applause
Series. Original Light
Music. Score Only.
Composed 2005. 32 pages.
De Haske Publications
#DHP 1053848-140.
Published by De Haske
Publications
(BT.DHP-1053848-140).
English-German-French-
Dutch. Since the
beginning of mankind
people have realized that
the warmth and the light
of the sun were necessary
to develop life on earth
- by creating winds in
the air, by generating
rains through the
evaporation of sea water
and by allowing plants to
grow. The sun creates the
dynamism of the chain of
life. This is the reason
why ancient populations
adored the sun as the god
of cosmic order as
opposed to the god of
chaos or night, who
generated fear and the
necessity of defense.
This piece is a tribute
to the sun (Verso il
Sole) as an existential
symbol of life and
energy.
Sinds de
mensheid bestaat, hebben
mensen zich gerealiseerd
dat de warmte en het
licht van de zon nodig
waren voor de
ontwikkeling van het
leven op aarde. De zon
zorgt voor de dynamiek
van de cirkel van het
leven. Lorenzo Bocci
schreefdit werk als een
hulde aan de zon
(Verso il Sole) -
existentieel symbool van
leven en
energie.
Seit
Menschengedenken ist
bekannt, dass die
Wärme und das Licht
der Sonne notwendig
für alles Leben auf
der Erde ist. Sie bildet
den Antrieb des
Kreislaufs des Lebens.
Alte Völker verehrten
die Sonne als Gott der
Ordnung des Weltalls, als
Gegenspieler des Gottes
des Chaos und der Nacht.
Verso il Sole - an
die Sonne - ist ein
Tribut des italienischen
Komponisten Lorenzo Bocci
an die Sonne als das
existentielle Symbol des
Lebens und der Energie.
Lassen Sie die Sonne in
Ihr
Konzert!
Dès
les débuts de
l’humanité,
l’homme a pris
conscience que la chaleur
et la lumière du
soleil étaient
nécessaires au
développement de la
vie terrestre. Le soleil
est le principe actif du
cycle de vie. Ainsi, de
nombreuses cultures et
civilisations anciennes
vénéraient le
Soleil comme le dieu de
l’ordre cosmique,
par opposition aux forces
du chaos ou de la nuit,
qui suscitaient la
crainte et un esprit de
défense. Verso il Sole
(“Vers le Soleil
â€) est un hommage
musical au Soleil en tant
que symbole existentiel,
source de vie et
d’énergie. <
br>Dagli inizi
dell’umanit ,
l’uomo è stato
cosciente del fatto che
il calore e la luce del
sole erano necessari allo
sviluppo della vita
terrestre. Il sole è
il principio attivo del
circolo della vita.
Numerose culture e civilt
antiche venerarono il
Sole come il Dio
dell’ordine
cosmico, in
contrapposizione a Dio
del caos o della notte,
che generava paura e
necessit di difesa. Verso
il Sole è un omaggio
musicale al Sole come
simbolo esistenziale,
sorgente di vita ed
energia. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Greatest Christmas Card (Sacred Children's Musical) Voix d'Enfants [Edition pour professeur] Fred Bock Music Company
By Betty Hager, Fred Bock. (director man.). Fred Bock Publications. Size 9x12 i...(+)
By Betty Hager, Fred
Bock. (director man.).
Fred Bock Publications.
Size 9x12 inches.
Published by Fred Bock
Music Company.
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Disney Fake Book - 4th Edition Ligne De Mélodie, Paroles et Accords [Fake Book] Hal Leonard
| | |
| The Disney Fake Book - 2nd Edition
Fake Book [Fake Book] Hal Leonard
For voice and piano. Format: fakebook (spiral bound). With vocal melody, lyrics ...(+)
For voice and piano.
Format: fakebook (spiral
bound). With vocal
melody, lyrics and chord
names. Disney. Series:
Hal Leonard Fake Books.
240 pages. 9x12 inches.
Published by Hal Leonard.
(6)$30.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Christmas Day - Intermédiaire De Haske Publications
Choir - Grade 3 SKU: BT.DHP-1104917-050 Fantasy on Old Carols. Com...(+)
Choir - Grade 3 SKU:
BT.DHP-1104917-050
Fantasy on Old
Carols. Composed by
Gustav Holst. Arranged by
Robert van Beringen.
Christmas Collection.
Christmas. Set (Score &
Parts). Composed 2010. De
Haske Publications #DHP
1104917-050. Published by
De Haske Publications
(BT.DHP-1104917-050).
9x12 inches.
English-German-French-Dut
ch. Set of 25 choir
scores
Eines der
200 Werke, die Gustav
Holst außer der
bekannten Suite Die
Planeten
hinterließ, ist diese
Fantasie über die vier
alten englischen
Weihnachtslieder Good
Christian Men, Rejoice,
God Rest You Merry,
Gentlemen, Come Ye Lofty,
Come und The First
Nowell. Christmas
Day wurde
ursprünglich für
gemischten Chor mit
Orchester oder
Orgelbegleitung
geschrieben. Genau
hundert Jahre später
bearbeitete Robert van
Beringen das Werk für
Blasorchester. Sein
Arrangement kann rein
instrumental, aber auch
mit Chor aufgeführt
werden.(Chorset 25
Stimmen)
Good
Christian Men, Rejoice
• God Rest You
Merry, Gentlemen •
Come Ye Lofty, Come
• The First
Nowell / La musique
de Noël de Gustav
Holst est touchante par
sa fraîcheur et sa
chaleur. Composée en
1910, cette fantaisie,
basée sur quatre
noëls anglais anciens,
témoigne de la
créativité et de
l’imagination du
compositeur.
Originellement pour
Chœur mixte et
Orchestre ou Orgue,
Robert van Beringen en a
réalisé cet
arrangement pour
Orchestre
d’Harmonie/Brass
Band et Chœur (ad
lib.). $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| How Firm a Foundation Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
By Larry Shackley. For SATB choir and piano. Sacred: All Saint's Day, General, R...(+)
By Larry Shackley. For
SATB choir and piano.
Sacred: All Saint's Day,
General, Reformation.
Octavo. Published by
Lorenz Publishing Company
$2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Choral Essentials: Easter, Volume 2 - Music Collection Chorale 3 parties SAB GIA Publications
(Volume 2: SAB and 2-part). For SAB choir, 2-part choir. Eastertide, Easter Sund...(+)
(Volume 2: SAB and
2-part). For SAB choir,
2-part choir. Eastertide,
Easter Sunday, Ascension,
Pentecost Sunday. Sacred.
Collection. Published by
GIA Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Forty-eight (48) Organ Descants on Well-Known Hymn Tunes Orgue GIA Publications
| | |
| High Flight Theodore Presser Co.
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, a...(+)
Choral Cello, Flute,
Harp, Oboe, Percussion,
Piano, Viola, Violin 1,
Violin 2, alto voice,
bass voice, soprano
voice, tenor voice
SKU: PR.31241902S
From Terra Nostra.
Composed by Stacy Garrop.
Full score. Duration
3:15. Theodore Presser
Company #312-41902S.
Published by Theodore
Presser Company
(PR.31241902S). UPC:
680160690589.
English. Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $20.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and
Piano SKU:
PR.312419020 From
Terra Nostra.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration 3:15.
Theodore Presser Company
#312-41902. Published by
Theodore Presser Company
(PR.312419020). ISBN
9781491131862. UPC:
680160680474. 6.875 x
10.5 inches.
English. Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| High Flight Theodore Presser Co.
Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, a...(+)
Choral Cello, Flute,
Harp, Oboe, Percussion,
Piano, Viola, Violin 1,
Violin 2, alto voice,
bass voice, soprano
voice, tenor voice
SKU: PR.31241902A
From Terra Nostra.
Composed by Stacy Garrop.
Set of Score and Parts.
Duration 3:15. Theodore
Presser Company
#312-41902A. Published by
Theodore Presser Company
(PR.31241902A). UPC:
680160690510.
English. Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $33.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Railways 1846 Theodore Presser Co.
Choral TTBB choir, piano SKU: PR.312419270 From Terra Nostra. Comp...(+)
Choral TTBB choir, piano
SKU: PR.312419270
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2
minutes. Theodore Presser
Company #312-41927.
Published by Theodore
Presser Company
(PR.312419270). ISBN
9781491137918. UPC:
680160692606. English.
Charles
Mackay. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| On Thine Own Child Theodore Presser Co.
Choral Children's choir, Piano SKU: PR.312419260 From Terra Nostra...(+)
Choral Children's choir,
Piano SKU:
PR.312419260 From
Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 8
pages. Duration 2:45.
Theodore Presser Company
#312-41926. Published by
Theodore Presser Company
(PR.312419260). ISBN
9781491137901. UPC:
680160692590. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Want of Peace Theodore Presser Co.
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280). ISBN
9781491137925. UPC:
680160692613. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her? $2.70 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Without Form and Void Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230). ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English. When the
Texas Choral Consort
asked Welcher to write a
short prologue to Haydn's
The Creation, his first
reaction was that Haydn
already presents Chaos in
his introductory
movement. As he thought
about it, Welcher began
envisioning a truer void
to precede Haydn's
depiction of Chaos within
the scope of 18th-century
classical style - quoting
some of Haydn's themes
and showing human voices
and inhuman sounds in a
kind of pre-creation
melange of color, mood,
and atmosphere. Welcher
accepted this challenge
with the proviso that his
prologue would lead
directly into Haydn's
masterpiece without
stopping, and certainly
without applause in
between. Scored for mixed
chorus and Haydn's
instrumentation, Without
Form and Void is a
dramatically fresh yet
pragmatic enhancement to
deepen any performance of
Haydn's The Creation.
Orchestral score and
parts are available on
rental. When Brent
Baldwin asked me to
consider writing a short
prologue to THE CREATION,
my first response was
“Why?â€Â
THE CREATION already
contains a prologue;
it’s called
“Representation of
Chaosâ€, and
it’s
Haydn’s way of
showing the formless
universe. How could a
new piece do anything but
get in the way? But
the more I thought about
it, the more it made
sense. The Age of
Enlightenment’s
idea of
“Chaos†was
just extended
chromaticism, no more
than Bach used (in fact,
Bach went
further).Perhaps there
might be a way to use the
full resources of the
modern orchestra (or at
least, a Haydn-sized
orchestra) and the modern
chorus to really present
a cosmic soup of unborn
musical atoms, just
waiting for
Haydn’s sure touch
to animate them.Â
Perhaps it could even
quote some of
Haydn’s themes
before he knew them
himself, and also show
human voices and inhuman
sounds in a kind of
pre-creation mélange
of color, mood, and
atmosphere. So I
accepted the challenge,
with the proviso that my
new piece not be treated
as some kind of
“overtureâ€,
but would instead be
allowed to lead directly
into Haydn’s
masterpiece without
stopping, and certainly
without applause. I
crafted this five minute
piece to begin with a
kind of “music of
the spheresâ€
universe-hum, created by
tuned wine glasses and
violin harmonics. The
chorus enters very soon
after, with the opening
words of Genesis
whispered simultaneously
in as many languages as
can be found in a
chorus. The first two
minutes of my work are
all about unborn human
voices and unfocused
planetary sounds,
gradually becoming more
and more
“coherentâ€
until we finally hear
actual pitches, melodies,
and words. Three of
Haydn’s melodies
will be heard, to be
specific, but not in the
way he will present them
an hour from now.Â
It’s almost as if
we are listening inside
the womb of the universe,
looking for a faint
heartbeat of worlds,
animals, and people to
come. At the end of
the piece, the chorus
finally finds its voice
with a single word:
“God!â€,Â
and the orchestra finally
finds its own pulse as
well. The unstoppable
desire for birth must now
be answered, and it
is----by Haydn’s
marvelous oratorio. I
am not a religious man in
any traditional
sense. Neither was
Haydn, nor Mozart, nor
Beethoven. But all of
them, as well as I, share
in what is now called a
humanistic view of how
things came to be, how
life in its many forms
developed on this planet,
and how Man became the
recorder of history.Â
The gospel according to
John begins with a parody
of Genesis: “In
the beginning was the
Word, and the Word was
with God, and the Word
was God.â€Â  I
love that phrase, and
it’s in that
spirit that I offer my
humble
“opener†to
the finest work of one of
the greatest composers
Western music has ever
known. My piece is
not supposed to sound
like Haydn.Â
It’s supposed to
sound like a giant
palette, on which a
composer in 1798 might
find more outrageous
colors than his era would
permit…but which, I
hope, he would have been
delighted to hear. $3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Inspirational New Hymns for Choir and Home - Vol. 5 Jackman Music Corporation
Composed by Janice Kapp Perry. Choral book. Published by Jackman Music Corporati...(+)
Composed by Janice Kapp
Perry. Choral book.
Published by Jackman
Music Corporation
$6.98 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Church's One Foundation - SA/TB Part-dominant Rehearsal CDs (Reproducible) Exaltation Publications
SKU: LO.99-2177L Celebrating the Unity of God's Church. Composed b...(+)
SKU: LO.99-2177L
Celebrating the Unity
of God's Church.
Composed by Lloyd Larson.
Choral, cantatas. SA/TB
part-dominant rehearsal
CD (reproducible).
Exaltation Publications
#99/2177L. Published by
Exaltation Publications
(LO.99-2177L). UPC:
000308115512. From
the beginning, God's plan
included living the life
of faith and worshiping
in the context of
community. The covenant
made with Abraham was for
him and his people. The
story of faith passed
down through the
generations of Israel's
history is the story of a
nation of people. On the
night before Jesus was
crucified, our Lord
prayed that His disciples
and all who would follow
would be one in their
faith. First-century
Christians were nurtured
in communities of faith.
At times, the church has
failed in its commitment
to present a united
message to a divided
world. But the challenge
still remains and the
goal still stands before
us. This dynamic and
brief work is a
celebration of the
church. Conceived as
worship experience with
choir and two narrators,
it is a call to renew the
challenge and fulfill the
prayer of our Lord that
God's people might be one
so that the world will
know of Jesus and His
love. $49.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Church's One Foundation - Bulk Performance CDs (10-pak) Exaltation Publications
SKU: LO.99-2175L Celebrating the Unity of God's Church. Composed b...(+)
SKU: LO.99-2175L
Celebrating the Unity
of God's Church.
Composed by Lloyd Larson.
Choral, cantatas. Bulk
performance CDs.
Exaltation Publications
#99/2175L. Published by
Exaltation Publications
(LO.99-2175L). UPC:
000308115499. From
the beginning, God's plan
included living the life
of faith and worshiping
in the context of
community. The covenant
made with Abraham was for
him and his people. The
story of faith passed
down through the
generations of Israel's
history is the story of a
nation of people. On the
night before Jesus was
crucified, our Lord
prayed that His disciples
and all who would follow
would be one in their
faith. First-century
Christians were nurtured
in communities of faith.
At times, the church has
failed in its commitment
to present a united
message to a divided
world. But the challenge
still remains and the
goal still stands before
us. This dynamic and
brief work is a
celebration of the
church. Conceived as
worship experience with
choir and two narrators,
it is a call to renew the
challenge and fulfill the
prayer of our Lord that
God's people might be one
so that the world will
know of Jesus and His
love. $69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jarba, Mare Jarba Chorale SATB Carl Fischer
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir SKU:
CF.CM9700 Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700). ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk. In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Worthy Is the Lamb! - Stereo Accompaniment CD Lorenz Publishing Company
SKU: LO.99-4130L Composed by Lloyd Larson. Arranged by Ed Hogan. Choral, ...(+)
SKU: LO.99-4130L
Composed by Lloyd Larson.
Arranged by Ed Hogan.
Choral, cantatas.
Eastertide, Lent.
Accompaniment CD. Lorenz
Publishing Company
#99/4130L. Published by
Lorenz Publishing Company
(LO.99-4130L). UPC:
000308155723. Worth
y Is the Lamb! is the
compelling story of God's
plan to deliver all
people from the clutches
of sin and death. Lloyd
Larson presents this
powerful reminder that
Isaiah's prophetic words
were fulfilled in Jesus:
Surely He has borne our
griefs and carried our
sorrows. He was pierced
for our transgressions;
crushed for our
iniquities; upon Him was
the chastisement that
brought us peace, and by
His wounds we are healed
(Isaiah 53:4-5). Flexibly
conceived for Lent, Holy
Week, or Eastertide
programming, each of the
three sections may be
presented during the
weeks or days leading up
to Easter, or the entire
musical may be presented
a single worship
experience. Small and
large choirs alike will
find the choral writing
appealing and versatile.
Accompaniment options
ranging from piano only
to full orchestra with CD
accompaniment or live
instruments ensures
maximum flexibility for
your unique programming
needs. $79.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Worthy Is the Lamb! - SAB Chorale 3 parties SAB Lorenz Publishing Company
Composed by Lloyd Larson. Choral, cantatas. Eastertide, Lent. Choral score. Lo...(+)
Composed by Lloyd Larson.
Choral, cantatas.
Eastertide,
Lent. Choral score.
Lorenz
Publishing Company
#55/1205L.
Published by Lorenz
Publishing Company
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Worthy Is the Lamb! Chorale SATB SATB, Piano Lorenz Publishing Company
Composed by Lloyd Larson. Choral, cantatas. Eastertide, Lent. Choral score. Lo...(+)
Composed by Lloyd Larson.
Choral, cantatas.
Eastertide,
Lent. Choral score.
Lorenz
Publishing Company
#55/1203L.
Published by Lorenz
Publishing Company
$12.95 - Voir plus => Acheter | | |
| Worthy Is the Lamb! - Bulk Performance CDs (10-pack) Lorenz Publishing Company
SKU: LO.99-4133L Composed by Lloyd Larson. Arranged by Ed Hogan. Choral, ...(+)
SKU: LO.99-4133L
Composed by Lloyd Larson.
Arranged by Ed Hogan.
Choral, cantatas.
Eastertide, Lent. Bulk
performance CDs. Lorenz
Publishing Company
#99/4133L. Published by
Lorenz Publishing Company
(LO.99-4133L). UPC:
000308155754. Worth
y Is the Lamb! is the
compelling story of God's
plan to deliver all
people from the clutches
of sin and death. Lloyd
Larson presents this
powerful reminder that
Isaiah's prophetic words
were fulfilled in Jesus:
Surely He has borne our
griefs and carried our
sorrows. He was pierced
for our transgressions;
crushed for our
iniquities; upon Him was
the chastisement that
brought us peace, and by
His wounds we are healed
(Isaiah 53:4-5). Flexibly
conceived for Lent, Holy
Week, or Eastertide
programming, each of the
three sections may be
presented during the
weeks or days leading up
to Easter, or the entire
musical may be presented
a single worship
experience. Small and
large choirs alike will
find the choral writing
appealing and versatile.
Accompaniment options
ranging from piano only
to full orchestra with CD
accompaniment or live
instruments ensures
maximum flexibility for
your unique programming
needs. $79.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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